Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Tras el fin de la guerra entre México y Estados Unidos (1846-1848), el trazo del nuevo lindero inició movimientos de población y una intensa acción recíproca entre los habitantes de las comarcas a ambos lados del Río Bravo, lo cual corrió simultáneo con el recrudecimiento de las incursiones de apaches y comanches en las zonas pobladas del septentrión de México, afectando seriamente la vida de los vecinos de las comarcas fronterizas e impactando la relación no sólo de las regiones a ambos lados del Bravo, sino el propio vínculo binacional.

La revista Norteamérica ha decidido publicar estos textos tras el fallecimiento reciente del ingeniero Fernando Solana, quien tuvo una destacada trayectoria como diplomático, legislador, académico y servidor público, y quien tuviera un notable papel en la historia reciente de México. Consideramos que la difusión de sus ideas acerca de la región de América del Norte es un homenaje merecido y que estos textos son de interés para los lectores de Norteamérica.** Además de desempeñarse como secretario

It deepens in the different textual and epistemological strategies to which the writer Nellie Campobello uses in Cartucho, a narrative approach and testimonial that validates a point of view located in his childish alter ego. This form, the Mexican Revolution as a complex referent is exposed, similarly with the gaze of the child who in Andersen’s classic tale reveals the nudity of the emperor. The emphasis is placed, in particular, on the textual operation and on the motivations that justify the child's gaze from the perspective game and the modulations that the novel presents (as opposed to the adult and official vision).

Is proposed a tour of Odio la poesía objetivista [I Hate Objectivist Poetry] (2016), by Francisco Garamona; “La desafección” [The disaffection] (2014), by Bernardo Orge; El mar y otros poemas [The sea and other poems] (2018), by Victoria Cóccaro; “La voluntad” [The Will] (2013), by Miguel Ángel Petrecca; and ¡Kawabunga! [Kawabunga!] (2011), by Santiago Pontoni, written in the last decade, where it is possible to observe different active relations of hate, affective tension, radicalization and formal or tonal variation with the Argentine objectivism of the nineties (“Paso a nivel en Chacarita” [Level crossing in Chacarita] (1990), “Una oportunidad” [An opportunity] (1996), “Meditación” [Meditation] (2003), by Fabián Casas; “Supermercado Makro” [Makro Supermarket] (1994), by Daniel García Helder; “Qué es el mar” [What is the sea] (2001), by Sergio Raimondi; and Punctum (1996), by Martin Gambarotta). In other words, these texts are explored as dialogues, expansions or discussions that end up delimiting a differential poetic territory, with its corresponding sensitive reconfigurations, mainly based on hearing and listening, but also on image and disaffection.

Mr. Don Gato comes to live in the country of lies.

Editorial del núm. 115.

A brief analysis of daily and ritual food in Mexico is presented, emphasizing women as protagonists. Emphasis is placed on the presence of the feminine in the construction of the pre-Hispanic imaginary based on corn. A concise historical journey through the symbolism and identity present in the activities and roles that are played within the kitchens, as well as the use and consumption of corn, is presented. The perception that women have about the use of smoke stoves in areas of extreme poverty in Mexico is studied: San José del Rincón, Mexico, Frontera Corozal, Chiapas, and San Cristóbal Amatlán, Oaxaca, to offer reflections on the role of indigenous women in these tasks. Finally, the essence of indigenous thought regarding the consumption of corn is summarized.

Some functions of transtextuality proposed by Gérard Genette, the contrasts between certain cultural types addressed by Iuri Lotman, and the presence of symbolic actions and characterizations of the characters within the animated short film Aria (2001), by Pjotr Sapegin. Specifically, it analyze, on the one hand, the semiotic possibilities of the relationships that the hypotext (Giacomo Puccini’s opera, Madama Butterfly) with the hypertext (the cinematographic text) and, on the other, the political and ideological repercussions that transcribe the contrasts between the two main cultural types present in said film (Japanese and American tradition).

A young man finds a photo of three women, one of them with a gun in hand. The grandmother confirms that she is the one holding the gun and tells her about how she was able to take revenge for the mistreatment of a barbaric man. The memory of the violence she suffered not only works as an anecdote, but also, through the story, we learn that this event is foundational for the woman's life.